DOI Heft:
No. 241 (April 1913)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21160#0257
Shidio-Talk
of these facts give an undoubted impression of orange. Steinlen in his art never bungles. If
life. Is it not, indeed, the function of the portrait- there is a story in his subject it is never blatantly
painter to reveal the mind and in some sort, if he conveyed in prosy mannerisms; there is always a
.can, the soul of his sitter? L. H. lyrical note, or at least the sensation of one, running
- through the tragic sequence of his design and colour,
Each spring brings to artistic Paris an increasing with a vitality which is always appropriately akin
number of exhibitions of newly-formed art societies, not to death, but the Infinite. The emotion
in addition to the annual displays of the already drawn from his work by the beholders will always
recognised societies, composed chiefly of painters be that which the artist consciously or uncon-
who have divided themselves into groups with sciously expressed, to some more vividly perhaps
quaint and varied names that seem to have little than to others,
connection with the kind of art with which they are
identified. At the close of the past year, I counted Other work of decided interest in the exhibition
over thirty exhibitions in full progress during the of the Societe Moderne included some decorative
same weeks, and though not all of equal merit, panels by Henri Marret, his Le Soir (fresco) being
each contained some works of more than average especially notable. All the work too, by Louis Perinet,
note. Amongst the more recent exhibitions there with its refined colour and design, had a distinct fas-
is one which calls for notice as claiming more than cination of its own. The Barques echouees a Saint-
a passing interest—the fifth exhibition of the Troftez, by Andre Wilder; Mon Portrait, by Henri
Societe Moderne, remarkable for the progressive Martin ; Penanveur and La Route dans la Lande,
quality as well as the in-
dividuality of the exhibited
work. _
In this exhibition of the
Societe Moderne thirty-one
artists were represented by
a hundred and ninety-four
works of special interest.
Prominent among these
was Ly Orange by Steinlen,
which fascinated one with
its subtle charm as well as
with its distinguished
colour and technique. It
was a simple picture of a Hl
present-day commonplace ^0fT
occurrence in the genuine
life of Paris. Two little
fashionably dressed " midi-
nettes" engrossed in the
peeling of an orange, heed-
less of passers-by and with
that naturalness that one
might say belongs pecu-
liarly to Paris; the whole
forming a unique harmony
in brown, grey and silver
with a delightful use of blue
and green in the bands of
their bonnet sacs, and red
in the black hat of the
little lady interested in the
peeling of the dominant PORTRAIT OF MME. L. H. O. BY HONOR& UMBRIGHT
234
of these facts give an undoubted impression of orange. Steinlen in his art never bungles. If
life. Is it not, indeed, the function of the portrait- there is a story in his subject it is never blatantly
painter to reveal the mind and in some sort, if he conveyed in prosy mannerisms; there is always a
.can, the soul of his sitter? L. H. lyrical note, or at least the sensation of one, running
- through the tragic sequence of his design and colour,
Each spring brings to artistic Paris an increasing with a vitality which is always appropriately akin
number of exhibitions of newly-formed art societies, not to death, but the Infinite. The emotion
in addition to the annual displays of the already drawn from his work by the beholders will always
recognised societies, composed chiefly of painters be that which the artist consciously or uncon-
who have divided themselves into groups with sciously expressed, to some more vividly perhaps
quaint and varied names that seem to have little than to others,
connection with the kind of art with which they are
identified. At the close of the past year, I counted Other work of decided interest in the exhibition
over thirty exhibitions in full progress during the of the Societe Moderne included some decorative
same weeks, and though not all of equal merit, panels by Henri Marret, his Le Soir (fresco) being
each contained some works of more than average especially notable. All the work too, by Louis Perinet,
note. Amongst the more recent exhibitions there with its refined colour and design, had a distinct fas-
is one which calls for notice as claiming more than cination of its own. The Barques echouees a Saint-
a passing interest—the fifth exhibition of the Troftez, by Andre Wilder; Mon Portrait, by Henri
Societe Moderne, remarkable for the progressive Martin ; Penanveur and La Route dans la Lande,
quality as well as the in-
dividuality of the exhibited
work. _
In this exhibition of the
Societe Moderne thirty-one
artists were represented by
a hundred and ninety-four
works of special interest.
Prominent among these
was Ly Orange by Steinlen,
which fascinated one with
its subtle charm as well as
with its distinguished
colour and technique. It
was a simple picture of a Hl
present-day commonplace ^0fT
occurrence in the genuine
life of Paris. Two little
fashionably dressed " midi-
nettes" engrossed in the
peeling of an orange, heed-
less of passers-by and with
that naturalness that one
might say belongs pecu-
liarly to Paris; the whole
forming a unique harmony
in brown, grey and silver
with a delightful use of blue
and green in the bands of
their bonnet sacs, and red
in the black hat of the
little lady interested in the
peeling of the dominant PORTRAIT OF MME. L. H. O. BY HONOR& UMBRIGHT
234